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    Dirk Greene joins Significant Others as creative director

    By SHOOTUpdated:No Comments1191 Views
    NEW YORK --

    Final Cut has expanded its postproduction arm, Significant Others, with the hiring of creative director Dirk Greene. He will oversee Significant Others’ development into a full service visual effects boutique.

    Greene’s career spans seven years at Absolute as creative director, and well over a decade as sr. Flame artist/VFX supervisor at The Mill. British-born Greene joined The Mill London in its early years, and was a contributing force in the facility’s growth to prominence. As a principal creative, working on numerous high profile commercials and music videos, Greene along with a small team of Mill UK employees, led the company’s first global expansion, with the launch of The Mill New York.

    In 2008, after 12 years at The Mill, Greene once again embarked on the challenge of building a brand stateside, joining Absolute as creative director and developing the New York office from one room into a fully operating visual effects and CG facility.

    Greene created the visual effects for acclaimed spots for Levi’s, Nike, Adidas, Sony, BMW and Guinness, plus numerous Super Bowl hits for Fed Ex, Snickers, Verizon, Budweiser and the NFL. He has continued on this path with his first project for Significant Others, an upcoming Samsung spot directed by design master, GMUNK (Bradley G Munkowitz), of Tron and Oblivion effects fame. Greene has won a number of awards including Clios for the groundbreaking AT&T Olympic “The New Possible” campaign and The White Stripes’ “The Hardest Button to Button,” for which he was also nominated for an MTV Video Music Award for Best Visual Effects.

    Stephanie Apt, president of Final Cut/Significant Others, said that the hiring of Greene “is just the beginning of our continued effort to offer more complex solutions to clients with a full team of talent.”

    “Launching with the support of such a renowned brand, we can continue to maintain the Final Cut aesthetic while building our own unique place in the industry,” related Greene. “We want to produce the best-looking work, with great people, in a truly collaborative way.”

    Final Cut is a creative editorial and post company collaborating on commercials, feature films and music videos with offices in London, New York and Los Angeles.

    Tags:Dirk GreeneFinal CutSignificant OthersStephanie Apt



    Review: Director Ben Taylor’s “Joy”

    Thursday, November 21, 2024

    Toward the end of Netflix's "Joy," the muffled cry of a newborn baby prompts a man and woman in a hospital to embrace out of pure bliss. They aren't the parents, but they had as much to do with the birth as the mom and dad.

    This charming and winning movie charts the decade-long true story of how the world's first IVF baby was born in England in 1978 — a 5-pound, 12-ounce girl who paved the way for millions more. It's an upbeat, very English affair, mixing sober discussion of endometriosis with chocolate biscuits.

    The couple embracing that day were pioneering scientist Robert Edwards and Jean Purdy, a young nurse and embryologist. Together with surgeon Patrick Steptoe, the trio succeeded with in vitro fertilization, a method of treating infertility. Edwards would go on to win the Nobel Prize.

    "Joy" has been birthed at a time when science is under threat in America — even IVF — so it's downright inspiring to see plucky, smart scientists working hard to change the world. "What we're doing, it matters," says Steptoe, played with quiet economy by Bill Nighy.

    "Joy" is the personal stories of the three scientists — mostly through the eyes of Purdy, a polite lab-coated warrior. "If I hear a commotion, I'm not very good at staying out of it," she says. Perfectly played by Thomasin McKenzie, Purdy is both vulnerable and strong, learning through the process to be a better human. James Norton plays Edwards with charm, self-doubt and calm spirit.

    Jack Thorne's script nicely explains the massive pressure the trio faced. IVF may have become common and uncontroversial over the last decades, but back in the late '70s it was experimental and shunned. The Anglican church called it a sin, the newspapers labeled it Frankenstein-ish and other... Read More

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